This discussion was very interesting as it went in a lot of different directions, from how does a writer fit in the devising process weather they would like to grow along with the process. How Arts council could be an issue with having to fit certain criteria’s and not be able to create your own original theatre if it doesn’t fit the criteria. What I found interesting was something so simple and that is work an average job make your own funding and this gives you the freedom to create what you want. Their was a sharing of going back to basics getting rid of drama schools for a number of years.

Also starting apprentices for actors, directors, writers ect.

This expearince was a good shock for me as I wasn’t expecting this discussion to start with my topic, but its going back to being surprised and not expecting.

An issue of allowing time to create something new and fresh instead of rushing also.

Allowing you’re self to go back to what you have already performed and looking at it from a different perspective.

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We live now in information - it is our environment. An aspect of what we can do in response to current events is the information we have about what's actually going on. Perhaps if we can clean up the information environment we will make better decisions about what to do next.

Schools still run on a 19th Century industrialised model; how can improvisation support a more holistic approach to education that helps young people tackle the complex challenges that the future holds?

"How do we improve female working class visiblility in the arts?" was the question posed at the start of day.
As a female arts sector leader (Festival Director - therefore a programmer, fundraiser, commissioner, debater, network lead/contributor, ambassador, etc), I felt it was important to ask what people wanted or needed from me, as someone who has a voice -in certain spaces- to offer. I was trying to buck the assumption that I would already know what women wanted from their peers and lead

How can we better develop the connection between main stage and education/participation work?
Is there a stigma attached to participation work from an audiences perspective that means they don't attend performances with this at its heart? Do audiences fear it will be of lesser quality therefore not want to risk wasting their valuable money?

This Open Space covered a wide range of subjects including gender, ethnicity, stage allies, pre- and post-show ally-ship, awareness, play and best practice.
It was convened by Stephen Davidson (Author: Play Like An Ally and Improvising Gender; Artistic Director: Improvable; Nursery Theatre: Training Centre Manager), Minder Kaur Athwal (Facilitator), Victoria Hogg (Founder: DDG Improv and The Offer Bank).
NB. These notes are not perfect! They were taken long-hand in the moment and are a startin

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